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Home , Kenneth Hesketh, Vasily Petrenko

SHOSTAKOVICH

Symphony No. 4

Royal Philharmonic Orchestra

Vasily Petrenko 13th September, with the first movement complete in all encompassing, even reckless yet magnificent statement Dmitry Shostakovich (1906-1975) essentials by early December and its successor at the of artistic intent. Symphony No. 4 turn of January 1936. In spite of the condemnatory This belated première, by Kondrashin and the Moscow Pravda article ‘Muddle Instead of Music’ on the 28th of Philharmonic Orchestra in Moscow on 30th December The fifteen symphonies of Dmitry Shostakovich presently Trauberg’s Alone [Naxos 8.570316] and Lev Arshtam’s that month, Shostakovich outwardly recovered quickly 1961, was followed by the UK première from Gennady stand at the very centre of the orchestral repertoire: The Girlfriends – as well as incidental music for Adrian from the attendant fall-out – finishing the finale’s short Rozhdestvensky and the Philharmonia Orchestra at the together with those of Mahler, they can fairly be said to Pyotrovsky’s Rule, Britannia! [both on 8.572138] and score on 26th April and its orchestration by 20th May. Edinburgh Festival on 7th September 1962 (programmed represent ‘modern’ music as it appears to the non- Nikolay Akimov’s controversial production of Hamlet. Word had already spread of the work’s epic scale and with and greatly preferred to the Twelfth Symphony), with specialist concertgoer. Yet unlike any comparable There were also full-length ballet collaborations – with emotional scope, with Otto Klemperer responding to the the American première by Eugene Ormandy and the symphonic cycle since that of Beethoven, these works do Alexander Ivanovsky on The Golden Age [8.570217-18], composer’s playing extracts on 31st May by pledging to Philadelphia Orchestra following in Philadelphia on 15th not progress in a way that might have endowed their Viktor Smirnov on The Bolt [Suite on 8.555949] and perform it in South America the following season. The February 1963. Kondrashin and the Moscow Philharmonic career-spanning inclusivity with a logical evolution which Fyodor Lopukhov on The Limpid Stream. Extracts from première itself was entrusted to Fritz Stiedry and the made the first commercial recording between the 3rd and carries them from aspiration to fulfilment. numerous of these scores were freely transferred, certain Leningrad Philharmonic, and scheduled for 11th 15th February 1962 at the Large Hall of the Moscow Of the symphonies, the First is a graduation work that pieces – not least the First Jazz Suite [8.555949] – December. That morning, however, brought an official Conservatoire, followed by Ormandy and the Philadelphia quickly accorded the teenage composer national acclaim becoming ‘hits’ in their own right. A more serious side was announcement that the composer had withdrawn the work in February 1963. Doubtless reflecting its respected though and then international prominence. The Second and Third evident in the Six Romances on Japanese Poems and, as it was now incompatible with his current creative still equivocal standing, there were no further recordings both represent the reckless accommodation between above all, Lady Macbeth of the Mtsensk District – the concerns. until and the Chicago Symphony in February modernist means and revolutionary ends, while the opera after Nikolay Leskov that saw success in Leningrad Just what were the events conspiring to seal the 1977, followed by Bernard Haitink and the London Fourth stakes out the boundary between the individual and Moscow, and acclaim in Cleveland and London, work’s fate have been much debated but it seems that, Philharmonic in January 1979, then Rozhdestvensky and and society that was to remain a focal point thereafter. before the infamous Pravda article that decided both its having rehearsed the first two movements without much the USSR Ministry of Culture Symphony Orchestra early The Fifth clarifies that boundary through paradoxically fate and that of Shostakovich’s future career. He had in the way of incident, Stiedry encountered overt during 1986 – by which time the work had all but entered making it even more equivocal; a process that the Sixth already re-engaged with abstract composition – antagonism from the musicians during the finale to an the repertoire and was regarded among the seminal continues by subverting the ‘private/public’ relationship composing the 24 Preludes for piano [8.555781] and the extent that Shostakovich, having spoken to the conductor, twentieth-century symphonies. still further. The Seventh is an unequivocal reaction to civil First Piano Concerto [8.553126] in 1933, then a Cello chose to avoid a potential scandal by literally taking the The Fourth Symphony is scored for the most conflict and social collapse that finds its conceptual Sonata [8.557231 or 8.557722] in 1934, during which year score with him as he left the building – though it is also extensive forces of any Shostakovich symphony: two equivalent in the Eighth, and which in turn finds its he also began a new symphony. likely the orchestra’s director Isai Renzin had prevailed piccolos, four flutes, four flutes (one doubling cor anglais), opposite in the Ninth. The Tenth effectively marks the Shostakovich had long intended to consolidate the upon the composer to withdraw the piece before his hand five clarinets, bass clarinet, three bassoons and contra- genre’s culmination as the outlet for an abstract promise of his First Symphony [8.572396] with a more was forced by ‘official’ pressure. After this, the symphony bassoon, eight horns, four trumpets, three trombones and programme. The Eleventh initiates a period in which inclusive statement than either of its successors, though was shelved though not forgotten – Shostakovich and two tubas, six timpani (two players) and percussion (six Russian concerns were to assume dominance, its deciding how to do so was no easy task. His first attempt Pavel Lamm having already made a reduction for two players), celesta, two harps and strings (84 desks historical acuity being diluted by the relative impersonality in the autumn of 1934 got no further than the seven- pianos that was circulated and even lithographed in 1946, recommended). The first movement is a complex and of the Twelfth and then intensified by the undeniable minute fragment of a first movement, whose brooding after a private performance by the composer and unpredictable take on sonata-form design, while its explicitness of the Thirteenth. The Fourteenth stands slow introduction for solo woodwind and strings followed Mieczysław Weinberg. The full score had been lost – successor deftly elides between scherzo and intermezzo, outside the symphonic genre as regards its form though by an energetic tutti (partially reused in the completed presumed destroyed – in the siege of Leningrad several then the finale integrates four disparate yet audibly related emphatically not in terms of content, while the Fifteenth work’s finale) suggests Myaskovsky as a viable mentor, years earlier, but was subsequently reconstructed from sections in an imaginative process of variation which marks a belated re-engagement with an abstract but Shostakovich may have felt this approach the orchestral parts by Boris Shalman and its culminates in one of its composer’s most far-reaching approach to symphonic thinking such as might or might insufficiently forward-looking. By April 1935 he was performance mooted at various stages in the post-Stalin apotheoses. not have been continued. speaking of the new symphony as embodying his artistic era until, in 1961, Kyrill Kondrashin (having seen a piano The first movement opens with a shrill fanfare-like The six-year period between the Third and Fourth ‘credo’, though the first evidence was Five Fragments for duet reduction by the composer’s amanuensis Lev motif on woodwind with brass and percussion, thrice Symphonies (the second longest between any in the chamber orchestra [8.557812] written at a single session Atovmyan) undertook the task. Despite having spoken on repeated, that reappears transformed at the start of each composer’s canon) saw Shostakovich focussing on music on 9th June (and which remained unheard for nearly three several occasions about revising the work, Shostakovich of its successors. Here it heads into a trenchant martial for the theatre, with several innovative scores for films – decades), whose striking sonorities and textures pointedly chose to leave it just as it was: an all- theme for brass over tramping strings, making reference notably those for Grigory Kozintsev’s and Leonid anticipate what was to come. Work began in earnest on to the initial motif at its height before it subsides – via woodwind, after which bird-like calls on violin presage the gruff response from double basses, bringing about the At which point (20’30”) a striding motion on both sets echoing horns and animated strings, into the leisurely latter’s taking up the second theme over lower strings and second part of the movement: a toccata of unremitting of timpani suddenly explodes into a fusillade that second theme whose imitative unfolding on strings is harp. It dies away disconsolately, only for the first theme momentum that is confirmed by the animated theme on underpins a peroration as overwhelming as it is countered with ominous responses from woodwind and to emerge on bassoon over a steady accompaniment on strings. Its contrapuntal interplay reduces to ceaselessly inexorable. On three occasions an impassioned fanfare percussion. Brass now initiates a strenuous interplay bass drum. Cor anglais partners it in the closing stages, alternating phrases on woodwind and strings, then to from brass is answered by a granitic chorale on horns and drawing on both themes, which reaches a powerful climax while a sudden eruption on this theme from clarinets, interlocking string ostinatos of almost minimalist cast, strings, with the fourth fanfare bringing a strenuous before subsiding as before into lower woodwind. A muted trumpets and harps denotes the onset of the brief before the previous activity resumes and an energetic confrontation between all sections of the orchestra. This capricious episode for upper woodwind, over a syncopated coda. Ejaculatory chords from woodwind and pizzicato climax for the whole orchestra ensues – angry gestures heads into the climactic fifth fanfare, whereupon the music accompaniment on pizzicato strings and timpani, strings freeze into an acrid harmony on woodwind and being traded as the tension subsides over a propulsive literally blows itself apart as a percussive onslaught concludes with a soft woodwind dissonance – from which brass, while fragments from the first theme on cor anglais three-note motif on lower brass and strings. There follows cancels out what went before and a quietly pulsating protesting strings build to a violently dissonant outburst gradually fade out against a softly enveloping gong what amounts to an extended ‘divertissement’ in which motion sets in on bassoons and double basses. The head from full orchestra. As this echoes into silence, lower stroke. elements of the themes heard so far are presented as a motif of this movement’s initial theme is variously intoned strings underpin the third theme – a sombre melody for The second movement begins with a rhapsodic succession of guises that range from the sardonic to the by horn, flute and muted trumpet – marked off by ominous bassoon, rounded off by lilting harps, which expands theme whose initial four-note motif proves a constant playful – beginning with a whimsical polka for flutes and woodwind chords and recollections of the eloquent theme across the strings as it gains in expressive plangency; a presence. This first theme soon graduates across strings piccolos over strings and harp which presently alights on on upper strings – before lower strings sink down in a curiously ambivalent dialogue for harps, woodwind and and then woodwind, interspersed by more incisive a lilting idea for horn and strings against chirruping mood of stoic resignation and violins quietly sustain a muted strings then functioning as the codetta to this gestures which provoke a tensile outburst from brass and woodwind. The mood lightens before hectic strings usher chord of acute anguish. Pulsating timpani and a extended exposition. Solo horn intoning of the third theme timpani. The latter’s rhythm duly underpins the second in a galop whose theme is heard on bassoon then somnolently repeating celesta pattern are duly curtailed to against bird-like woodwind calls initiates the development, theme, a graceful though notably restive melody for xylophone with a brusque response from the strings each leave just the vast expressive gulf between strings that building to a waspish confrontation of woodwind and muted violins that takes in flutes and solo horn before building to time. A folk-like idea on trombone briefly intervenes itself evanesces into silence. trumpets before strings increase the tension into a spiralling a further brief outburst again dispersed by brass and before the section leads into an artful waltz for woodwind Following an early performance of the internationally ascent on brass and strings – these latter persisting in a timpani before fading out on horns and pizzicato strings. over pizzicato strings, gaining impetus as strings engage acclaimed Fifth Symphony, Shostakovich was heard to heated dialogue that grinds to a deadening halt. The first theme then re-emerges as a fugal interplay in quiet activity that provokes a brief climax then a remark: “I finished the symphony fortissimo and in the From here (13’30”) upper woodwind begin a lively between strings, gaining in textural intricacy and knockabout response from the trombone. This finally major. … I wonder what [everyone] would be saying if I discussion of the first theme which soon takes in elements expressive intensity before being stopped short by mutates into a pensive theme for woodwind which, after had finished it pianissimo and in the minor?”. Only 25 from the third theme on lower woodwind together with woodwind, whose lucid dialogue acts as transition into the an allusion to the lilting idea heard earlier, moves to years on was it possible to understand the true import of sardonic phrases from brass and percussion. At length return of the second theme, now intoned resolutely by violins and violas over a chugging accompaniment on this enigmatic comment. this activity alights on a series of nonchalant chords, horns over a three-note accompaniment from woodwind. lower strings. The music hesitantly takes on a feeling of whereupon violins launch a furious fugato on the first Theme and accompaniment move to woodwind and inward resolution as activity dies out across strings and Richard Whitehouse theme that presently involves all of the strings then strings before subsiding into the coda – the first theme an expectant pause ensues. woodwind and brass in an inexorable build-up to the being heard over a ‘walking bass’ in lower strings with a principal climax: one which draws on the whole orchestra mesmeric ostinato pattern on percussion. in a seismic unleashing of physical force. Angry brass The third movement starts with a deadpan theme for then unexpectedly waltz-like strings lead away from this bassoon over a funereal tread in double basses. As other climax towards a quietly dissonant woodwind chord that woodwind continue this theme, the mood becomes more remains sphinx-like until a general pause is reached. ironic and animated – with strings at length entering From here six crescendoing chords, each more incisively to drive the theme through to a monumental Thanks to the Kenneth Stern Trust thunderous than the last, build to the heightened return of climax on full orchestra. This dies down to reveal a the initial motif as at the very opening – though now the melody of some eloquence on violins over a rhythmic tramping strings underpin a defiant version of the third accompaniment on lower strings, before the initial theme theme from trumpets and upper woodwind. This dies returns modified on woodwind and then lower strings over down into a more eloquent discussion of that theme on timpani. Oscillating woodwind cries emerge against a Royal Liverpool Philharmonic Orchestra

Photo: Mark McNulty The award-winning Royal Liverpool Philharmonic Orchestra is the UK’s oldest continuing professional symphony orchestra, dating from 1840. The dynamic young Russian, was appointed Principal Conductor of the orchestra in September 2006 and in September 2009 became Chief Conductor. The orchestra gives over sixty concerts each season in Liverpool Philharmonic Hall and tours widely throughout the UK and internationally, most recently touring to China, Switzerland, France, Spain, Germany, Romania and the Czech Republic. In recent seasons world première performances have included major works by Sir Peter Maxwell Davies, Sir John Tavener, Karl Jenkins, Michael Nyman and Jennifer Higdon, alongside works by Liverpool-born composers including John McCabe, Emily Howard, and Mark Simpson. Recent additions to the Royal Liverpool Philharmonic Orchestra’s extensive and critically acclaimed recording catalogue include Tchaikovsky’s (2009 Gramophone Awards Orchestral Recording of the Year), the world première performance of Sir John Tavener’s Requiem, an ongoing Shostakovich cycle (the recording of Symphony No. 10 is the 2011 Gramophone Awards Orchestral Recording of the Year); Rachmaninov’s Symphonic Dances, and Piano Concertos Nos. 2 and 3 and Nos. 1 and 4 with Simon Trpčeski; and Rachmaninov’s Symphony No. 2 and No. 3. www.liverpoolphil.com Vasily Petrenko

Photo: Mark McNulty Vasily Petrenko was appointed Principal Conductor of the Royal Liverpool Philharmonic Orchestra in 2006 and in 2009 became Chief Conductor. He is also Chief Conductor of the Orchestra, Principal Guest Conductor of the of his native St Petersburg, and Principal Conductor of the National Youth Orchestra of Great Britain. He was the Classical BRIT Awards Male Artist of the Year 2010 and 2012 and the Classic FM/Gramophone Young Artist of the Year 2007. He is only the second person to have been awarded Honorary Doctorates by both the and Liverpool Hope University (in 2009), and an Honorary Fellowship of the Liverpool John Moores University (in 2012), awards which recognise the immense impact he has had on the Royal Liverpool Philharmonic and the city’s cultural scene. He now works regularly with many of the world’s finest orchestras, including the London Philharmonic, Philharmonia, Russian National, Netherlands Radio Philharmonic, Chicago Symphony, Philadelphia, Czech Philharmonic, Vienna Symphony, Sydney Symphony, Los Angeles Philharmonic and San Francisco Symphony Orchestras, the National Symphony Orchestra Washington, Orchestre de la Suisse Romande, Accademia Nazionale di Santa Cecilia, and the Rundfunk Sinfonieorchester Berlin. His wide operatic repertoire includes Macbeth (Glyndebourne Festival Opera), Parsifal and Tosca (Royal Liverpool Philharmonic), Le Villi, I due Foscari and Boris Godunov (Netherlands Reisopera), Der fliegende Holländer, La Bohème and Carmen (Mikhailovsky Theatre), Pique Dame (Hamburg State Opera) and Eugene Onegin (Opéra de Paris, Bastille). Recordings with the Royal Liverpool Philharmonic Orchestra include Tchaikovsky’s Manfred Symphony (2009 Classic FM/Gramophone Orchestral Recording of the Year), an ongoing Shostakovich cycle, and Rachmaninov’s Symphonic Dances, Second and Third Symphonies and complete Piano Concertos. Completed in 1936 but withdrawn during rehearsal and not performed until 1961, the searing Fourth Symphony finds Shostakovich stretching his musical idiom to the limit in the search for a personal means of expression at a time of undoubted personal and professional crisis. The opening movement, a complex and unpredictable take on sonata form that teems with a dazzling profusion of varied motifs, is followed by a short, eerie central movement. The finale opens with a funeral march leading to a climax of seismic physical force that gives way to a bleak and harrowing minor key coda. The Symphony has since become one of the most highly regarded of the composer’s large-scale works. Dmitry SHOSTAKOVICH (1906-1975) Symphony No. 4 in C minor, Op. 43 (1935-36) 64:59

1 I. Allegretto poco moderato 27:20

2 II. Moderato con moto 9:25

3 III. Largo – Allegro 28:14

Royal Liverpool Philharmonic Orchestra Vasily Petrenko

Thanks to the Kenneth Stern Trust Recorded at Liverpool Philharmonic Hall, England, on 9th and 10th February, 2013 Producer and editor: Andrew Walton (K&A Productions Ltd.) • Engineer: Mike Clements Publisher: Boosey & Hawkes Music Publishers, Ltd. • Booklet notes: Richard Whitehouse Cover photograph: Shostakovich after the première of the Fourth Symphony at the Moscow Conservatory Bolshoi Hall, 30th December, 1961 (Pyotr Kondrashin) (courtesy of Nolda Broekstra)